MILAN – Celebrities thronged the city on Saturday, the final day of Milan Fashion Week, sending fans swarming from one venue to the next.
Madonna had a front row seat at Dolce & Gabbana, accompanied by Naomi Campbell and Måneskin’s Victoria De Angelis. Her bandmate, Måneskin frontman Damiano David, showed up on the other side of town at Diesel, one of the hottest tickets of the season. Jacob Elordi watched the show sitting on a bunny-shaped bean bag chair to watch the Bottega Veneta show.
Previews of womenswear for next spring and summer at Milan Fashion Week on Saturday.
Madonna attempted a semi-secret entrance to the Dolce & Gabbana runway show in a black veil, referencing her 1990s heyday and celebrating the cone bra.
Models in bleach-blonde wigs appeared in Domenico Dolce and Stefano Gabbana’s signature corsets and fitted jackets, each with an aggressively feminine cone-shaped bra, in a collection that “pays homage to an ironic and powerful female figure.”
Madonna wasn’t mentioned specifically, but the Milan designer and the pop star’s stars have been linked since he created the costumes for her Girlie Show tour in 1993. The tour promoted Madonna’s “Erotica” album, as well as the launch of her taboo coffee table book “Sex.”
“Madonna has always been our icon,” the designers said in a note. “She changed many things in our lives.”
The collection, called “Italian Beauty,” perfectly captured the moment. Cone bras peeked out of cropped jackets with pencil skirts, garters dangled from corsets and coats shaped the body. Floral prints were back, accentuating the black, nude, red and white color scheme. Oversized cross earrings completed the look. Heels were unabashedly high.
After accepting their greetings with open arms, the designers stepped onto the runway to greet their chief guest. Madonna, still covered in a long lace veil of Chantilly and a gold and crystal tiara atop her head, stood up to embrace them both.
Bottega Veneta’s sometimes misrepresented, sometimes wrinkly, always provocative collection explores the intersection between the real world and the imagination, adulthood and childhood. Creative director Matthew Blazy’s vision is simple: to delight.
“We need beauty. We need joy,” Blazy said backstage. “We need experimental work. It’s also work of freedom.”
In this universe, a dental clinic receptionist wears a skirt with trousers on just one leg, which Blazey described as a playful move. In one familiar scene, a well-dressed father carries his daughter’s pink and purple school bag. “Did we like the bag? I don’t know. Does it tell a story? Yes,” Blazey said.
Every detail is intentional, from a flat collar on a rabbit ear-shaped dress to the large colorful raffia wigs, even if their ultimate purpose is simply for fun. Wrinkled clothes reflect a child’s effort to get dressed, which is ruined by the end of the day.
The items Blazy’s characters picked up looked like ordinary plastic grocery bags, but they were made of nylon and leather – part of the brand’s ongoing technological innovations. The fake plastic bags were a symbol of everyday life, and were accompanied by the brand’s trademark woven bags, one for a violin, the other for a bottle of wine.
Ferragamo Creative Director Maximilian Davis celebrates the freedom of movement inherent in ballet in his new collection, inspired by vintage photographs of the brand’s founder Salvatore Ferragamo fitting shoes to African American ballet dancer Katherine Dunham.
Dunham often trained and worked in the Caribbean, which allowed the Jamaican-born British designer to “find connections between Ferragamo’s Italian-identity and my heritage.”
The collection is reminiscent of 1980s costume styles, with strong shoulders and oversized tailoring, and is also a tribute to Russian ballet star Rudolf Nureyev, another historic Ferragamo customer.
To emphasize movement, Davis created long parachute dresses in silk nylon, suede, and organza that had a bubble shape. The ballet dancer is honored in cashmere dancer wraps, color-blocked with layered leotards. More subversively, shorts with torn denim suggested a tutu.
Diesel models trampled a field of 14,800kg of denim scraps to “highlight the beauty of waste”, creating a dystopian backdrop for the brand’s latest collection of advanced denim.
Under creative director Glenn Martens the Veneto-based brand has become a laboratory for textile experimentation. Short-shorts are embroidered with cascades of extra-long fringe for a skirt-like effect. Jeans are lasered to look destroyed; necklines on cotton sweatshirts look worn but the effect is actually a jacquard in which the cotton is burned down to tulle.
Martens said the brand’s “deconstruction” goes beyond its design. “We’re emphasizing circularity in our production,” he said. Along the same lines: A coat was made from leftover spools of denim thread, while oversized jeans were made from recycled cotton, some of it from Diesel’s own production. And the scraps that accumulated on the floor were to be reused after the show.
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